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Starship Troopers has now been in the world for twenty years. The film, which stars Casper Van Dien, Dina Meyer, Denise Richards and Neil Patrick Harris, is somewhat of a cult classic. Set in a future where mankind is at war with a race of giant bugs, and the only way to do pretty much anything is by becoming a citizen, it follows the tribulations of Johnny Rico (Van Dien), a young man who joins the Mobile Infantry. Ever wondered how the film was made? Who was first in line to play Johnny Rico? We have all this and more, just read below if you would like to know more. Check out our 15 Starship Troopers facts below.

Here’s how studios say they see it: Sure, we really want to hire women directors. But there’s almost no studio movie that isn’t big budget, and we can’t find women who have the experience necessary to handle the really big movies. (Never mind Colin Trevorrow. Or Marc Webb. Or Gareth Edwards. Or Jon Watts.)

Of course, that logic is a vicious cycle at best, but here’s a chance to break it. Director Reed Morano’s dazzling execution of the first three episodes of Hulu’s “The Handmaid’s Tale” suggests another excellent source for future women directors: top cinematographers.

Read More: 7 Female Genre Filmmakers You Should Get to Know Right Now

Women cinematographers work harder, longer, and have to be gifted and tough in order to keep landing jobs. As a cinematographer, make one mistake and you’re through. Any working cinematographer has more than

Here’s how studios say they see it: Sure, we really want to hire women directors. But there’s almost no studio movie that isn’t big budget, and we can’t find women who have the experience necessary to handle the really big movies. (Never mind Colin Trevorrow. Or Marc Webb. Or Gareth Edwards. Or Jon Watts.)

Of course, that logic is a vicious cycle at best, but here’s a chance to break it. Director Reed Morano’s dazzling execution of the first three episodes of Hulu’s “The Handmaid’s Tale” suggests another excellent source for future women directors: top cinematographers.

Read More: 7 Female Genre Filmmakers You Should Get to Know Right Now

Women cinematographers work harder, longer, and have to be gifted and tough in order to keep landing jobs. As a cinematographer, make one mistake and you’re through. Any working cinematographer has more than

Fearsome monsters, grasping hands, and a suggestive tree. Here are 10 fantasy movie moments that scarred us as kids...

Sooner or later, you're going to see a scary movie. Whether you sneak down and watch a horror film on late night television, watch a Nightmare On Elm Street sequel round a friend's house or watch clips of slasher movies on YouTube, horror movies are always out there, waiting in the wings for the young and curious.

But long before most of us graduate to the stage of our lives where we start seeking out 18-rated movies of gore and terror, we reliably encounter scary moments in what might initially seem to be harmless family adventure films.

In RoboCop, we see death and resurrection through Murphy's eyes. Here's how its Pov sequences create such a timeless movie...

"Well, he signed a release form when he joined the force. He's legally dead. We can do pretty much what we want to him."

Articles probably ought to begin with a punchy, attention-grabbing argument, so here's one: RoboCop's an underrated film. As financially successful as it was, as oft-quoted it is by its legion fans, and despite all the sequels, the TV spin-off and the 2014 reboot, the brilliance of its filmmaking is still easily overlooked. Why? Because RoboCop's writing, direction, acting and design all slip together so seamlessly that singling out exactly why the film works so well.

Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.

John Waters‘ restored Multiple Maniacs is coming to theaters this August, followed by a likely release on The Criterion Collection, Criterion Cast reports.

If there is a reliable truism that can coexist alongside the American film industry’s dance of death with economically insane budgets that now routinely soar north of $200 million, it is that (most) critics and potential ticket-buyers can be counted on to review bad buzz and publicized woes of dollars and production instead of the actual movie once it finally finds its way to a screen. And it may in fact be true that the drama behind the scenes often outstrips the quality of the wide-screen finished product, though certainly this is not always the case. The reception of big-budget box-office flops like John Carter, The Lone Ranger, Jupiter Ascending and Oliver Stone’s Alexander are but some late examples of our number-crunching obsession with pop culture minutiae and the fascination of a behemoth’s preordained fall. Most who trudged out to see any of these films during their theatrical

The Paul Verhoeven filmography screens at the Tiff Bell Lightbox through April 4th, culminating in a screening of his new “crowdsourced” film, Tricked.

Common wisdom dictates that cynicism and sentimentality are carefully linked, if not outright synonymous. In filmic terms, the most comfortable formulation of that argument is to align, for instance, romantic comedies with socially-acceptable (and, often, utterly noxious) notions of gender politics. Through the deployment of relationships and character profiles that support popular notions of how women and men behave, these movies are able to exploit comfortable mores in order to mainline easy pathos. What’s less common is to consider how that relationship between affect and effect can be subverted, perhaps because it’s relatively rare for truly subversive artists to be handed the proverbial keys to the kingdom.

In a daily video series, Tribeca Films is releasing some extra clips from the films which featuring conversations that didn’t make the cut. There’s David Lynch discussing digital theatrical delivery, the Wachowskis on actors performances and editing, Martin Scorsese on celluloid, Wally Pfister on story, Steven Soderbergh on doing things different and much more. It’s great to hear the opinions of these tastemakers in Hollywood, including both sides of the coin.

From the 70s to the present, we look back through the sterling work of Rutger Hauer to bring you the actor’s 10 finest films that aren't Blade Runner...

For some, Dutch actor Rutger Hauer will forever be associated with a certain rooftop speech about tears in rain. But although his turn as doomed replicant Roy Batty in Blade Runner was a classic one, Hauer’s output before and since has been stunningly prolific. This list, therefore, is designed to highlight 10 of Hauer’s finest non-Blade Runner movies, with a particular emphasis on those that are lesser known – which is why we've gone for some older pictures rather than the more recent and mainstream, such as Batman Begins. And since this is Den of Geek, expect to find lots of action movies, horror, and low-budget sci-fi in the entries below.

This is the first of two conversations I've had with director Paul Verhoeven, the second being for his Ww II drama "Black Book." When I met Verhoeven in the Sony Pictures commissary for lunch in October of 1997, I had been a fan of his work since seeing the classic "Soldier of Orange" in 1979. The manic energy that Verhoeven is renowned for was evident throughout our chat, and was infectious. By the time our all-too-brief lunch was over, I found myself waving my hands while I spoke in rapid clips, and using more bounce than usual in my stride, to the point where a few friends suggested I switch to decaf.

The other memory that remains vivid is the passion and high hopes that Verhoeven had for "Starship Troopers." Like the director himself, I thought this would be a groundbreaking movie event and that the world would embrace

The concept of this series is such: I choose a movie. We all choose our favorite shot(s) from said movie. I link up to everyone's choices each Wednesday. It's an eye candy free for all celebrating those single images in movies that we just can't live without. They're either the prettiest, the most telling, personally resonant, quite unexpected or just plain delightful.

Vacano was paid DM180,000 (around $114,000) for his lensing of the anti-war classic. The film won an Oscar for best foreign language film and Vacano's camerawork picked up an Academy Award nomination. "Das Boot" has earned an estimated $100 million at the boxoffice world-wide and substantially more on home video and DVD.

A German court of appeals has upheld a lower court ruling supporting Vacano in his efforts to find out how much producers Bavaria and public network Wdr have made from "Das Boot" since 2002. The court ruled the producers have to open their books. Only then can Vacano try and prove he is owed further compensation.

The court, however, said Vacano does not have a right to information about

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